Someone could write a book. The relation of Florence to Venice, to modernity.  Titian admitted he couldn't compete with Florentine facility; he had to do something else. But Picasso's best painting is an anti-formalist clusterfuck that works. Panofsky said he didn't use color plates in his book on Titian because they would only be an insult. The plates “were made from the best available originals and are all in black and white, not in spite but because of the fact that Titian was the greatest ‘colorist’ who ever lived.” And he doubted the attribution  of The Flaying of Marsyas.  Picasso said "when I don't have red, I use blue."

All repeats, but I'd never put the images side by side.

The ideal of Modernism was that it was a sort of return to the Renaissance, but the Renaissance was a loosening of rules, while Modernism was a closing down. Gursky’s nihilism begins in Seurat. To see Les Demoiselles d’Avignon as the high-point of 20th century painting is to imagine a century beginning with the Carracci and Titian’s Flaying of Marsyas and fading into mannerism. The idealism of Modernism is always the idealism of a church, or the equally strict, fearful, ironic mockery of the same church.